20th Century Men #1 mixes beautiful painted art with a poignant and eloquent narration to create a stellar first issue. Some of the story will seem a bit familiar though.

20th Century Men #2 continues to be a well-written comic book that hits hard and doesn't try to hide the darkness of its subject matter. This issue though seems to linger a bit too long in its own narrative, preferring to be a meditation rather than a chapter that moves things forward.

20XX #4 manages to carry on the ongoing plot effectively, while also having a moment of it's own to set this specific issue apart from the others.

While it goes without saying that every comic won't be everyone's cup of tea, it's especially true with this one. 7174 AD #1 is an experimental book that isn't concerned with your comprehension and enjoyment and at times feels like it's trying to actively make it difficult to see what's going on. But there's a purity and expressiveness here that you just don't see in most comic books that feels both new and reminiscent of underground and alt comics from days gone by.

Akogun: Brutalizer of Gods #1 is a violent fantasy story that manages to bring in some fresh elements to a genre that's become homogenized both visually and content-wise, while still utilizing other pieces from those old stories that had made them classics.

Akogun: Brutalizer of Gods is the perfect book for those who love to see violence, magic, and sex. But, it doesn't offer much else for readers who want more than that.

Alien #1 is the classic case of spending all of its page space to set up future issues, but doesn't do nearly enough to be interesting on its own. The art is hit and miss with some nice color work but poor character art.

The Amazing Mary Jane #1 spends more time establishing a fun scenario rather than actually utilizing that scenario to make a good story.

America Chavez #2 slows things down a bit from the first issue, but that doesn't diminish its effectiveness as a good place to hop on if you're unfamiliar with the character.

Animal Pound #1 is a good reimagining of a classic, that feels unique to itself, without straying so far from the source material. It also features superb and subtle art that enhances every element of this story.

Aquaman #51 is a quiet, inoffensive issue that ends with a bang that introduces the next strife and drama for the characters involved.

Arcbound #1 seems like it's trying to be a big bombastic first step into a new universe, but it ends up being a pretty boring and predictable one instead.

The Autumn Kingdom #1 is a clever comic that blends family adventure with intense fantasy action in a unique way. The characters lack personality though and the art doesn't help in this department either.

Backtrack #1 is a decent read that manages to introduce a nice twist to a familiar setup. Also, the artwork does a good job silently setting up character traits, even if they aren't very original or fun.

Backtrack #2 manages to take a fun and goofy setup that could be a good, cheesy romp and drowns it in cliches, weird dialog, and confusing action sequences.

Batgirls #15 continues to deepen the relationship between its main characters in meaningful and genuine ways. But at times it likes to remind you that it's doing that, a little too much.

Batgirls #19 wraps things up in a pleasant way that doesn't dictate the future of any of the characters involved, allowing the series to stand on its own as a complete story.

Catwoman: One Bad Day #1 does nearly everything right by allowing the reader to enjoy it on multiple levels. A couple missteps with tone aren't enough to diminish what is good here.

While this manages to capture the feel of the animated series, it doesn't capture the feel of one of the better episodes. This comic just lacks content. The fight with Clayface was fun, but after that, this issue just meanders as all the various characters comment on Deathstroke, or are Deathstroke not being very subtle.

Bear Pirate Viking Queen #2 comes off like it has high aspirations to be an elevated work of storytelling, and it has all the pieces it needs to be just that. It just can't figure out how to put them together in a way that makes this feel impactful.

Behold, Behemoth #1 deals with some heavy issues and ties them to an apocalyptic story. While it has an overall fresh feel, there's a few moments of familiar territory from other stories with similar subject matter.

There's nothing extremely bad about Behold, Behemoth #2, but unless the first issue really grabbed you, there isn't much reason to drop the cash on this one and even so, this is a bit unsatisfying.

Beyond Real #1 does a good job setting up the series and establishing a universe that is mysterious on its own without needing silly plot twists. The main character is a little flat though and its unclear what kind of tone this will have going forward.

I imagine there will be someone out there who enjoys Billionaire's Island #1. Also, there's always a chance that the series will improve as it goes. But, there's just not much to enjoy here in the first issue.

Birds of Prey #2 is fine when it's just the teammates interacting with each other. But a lot of weirdness happens just to get the plot moving.

Black Panther and The Agents of Wakanda #2 is a no frills book that isn't trying to do too much. But, what it does try to do it does competently. If you just want to see some superheroes fight and have a bit of an adventure then take a glance at this issue.

Black Sight #1 takes a familiar story and tells it as only a comic book can. The art can be a bit distracting in places, but all in all it's a stylish and engaging read.

Blade #1 has some serious pacing issues that diminish a lot of what's going on here. It does feature a great characterization of Blade that is nearly worth the price of admission.

Blade Runner: Tokyo Nexus #1 is a solid entry into the vast collection of comic book series and miniseries that have carried the name Blade Runner. Unfortunately, some technical issues with panel layout and selection make this a challenging read, and not in a satisfying way.

Blade #1 tries to give the main character some depth and a different sort of pathos, but these efforts are weighed down with a less than interesting plot to push him down.

Blink #1 is a thoughtful and well constructed comic book that utilizes both smart writing and artwork to tell both a personal tale and intriguing mystery.

There's something going on with this book that I can't quite put my finger on yet. While the plot here in the first issue isn't going to blow anyone away, there's enough going on around the peripherals, especially visually, that I think it deserves a few more issues to see where it goes.

Bliss #2 expands on the first issue in smart ways that build the world up while putting the characters into place to move forward in interesting ways.

Blood Hunters #1 is a solid collection of short stories on their own. The problem is that it doesn't feel like it fits with the rest of the Blood Hunt event, so those who are interested in it because of the event might be disappointed.

Blood Tree #2 takes a compelling plot with talented writing and hamstrings it with boring characters and bland art.

Bolero #1 is a decent start to a series that has a really interesting premise that hopefully will be interesting to see play out. Unfortunately, the characters aren't very interesting in this issue.

While the series had a not mind-blowing opening, Bolero #2 really gets things going, utilizes its gimmick well, and is a well-put-together comic that is enjoyable both with its writing and visually.

Bolero #4 seems to conclude what has been a very restrained and nuanced look at certain phases of a relationship that don't get a lot of attention. The fact that there's one more issue though, makes this conclusion uneasy for now.

Some of the setup in Canopus #1 will come off as familiar and even well-tread. The parts in this issue that are unique though, make up for those cliched aspects.

It's always a risky proposition to take such a visible character and try and do something new with them. But if Captain Marvel #1 is any indication, it looks like the risk is going to pay off.

If the first issue wasn't enough to sell you on this series, then this one should do the trick. A clever premise, mixed with fun characters, and great art, what more can you ask for?

Captain Marvel: Dark Tempest #1 brings in a lot of characters and a lot of moving pieces, all of which are lacking in some way or another, plus some truly annoying characterizations makes this one a hard read.

Catwoman #43 is a decent comic book, especially as a jumping on point. Some weirdness in the pacing can be overlooked due to the fun banter and unique style.

Champions #2 breathes some new life into the Outlawed event that was desperately needed. It's not perfect, but it adds just enough wrinkles and new perspectives to the ongoing conflict to suggest that this event might be more than just Civil War Jr.

While Champions #5 does manage to bring things back to pretty much status quo, it does so by either ignoring things from the rest of the series or by solving them in quick, convenient, and safe ways.

Children of The Black Sun #1 is a pretty amazing introduction to this series that does just about everything right.

City Boy #1 is a perfectly fine first adventure for a new character that has a lot going for them, but could use a bit more refinement.

City Boy #3 does a better job in creating intrigue for upcoming issues than it does in being an interesting chapter in its main character's current story.

Clear #3 manages to continue the disappointing trend this series is on, where they continue to ignore the big thing they focused so much on in the first issue, leaving this feeling like just another detective story.

Cold Iron #1 is a comic that uses its setting very well, creates interesting and fully realized characters quickly and efficiently and has a timeless look that lends itself to the subject matter and readability of the book. On the downside, none of this is really used to push the plot beyond what feels like the cold open of a TV drama.

Contagion #1 has a specific tone that may not appeal to everyone, but has enough in it that it should be at least entertaining to a lot of people, even if it's a shallow story.

Crave #1 presents itself as if it has something interesting to say about desire, social media, trauma, wealth, and relationships but is ultimately a pretty shallow read.

Crush and Lobo #1 wouldn't sell me on the series based on the events of the issue alone. But, the writing is good and the characterization of Crush especially, makes me want to give this series another shot.

Cut Man #1 is a good introduction to a series that has a well constructed hook that is also elevated by exceptionally executed interiors and colorwork.

Cut-Man #2 does exactly what a #2 needs to do. It took the seeds from the first issue and nurtured them with subtle character development to polish up the players before really pushing them deep into a lot of action or plot. While not a lot happens in this issue, there's a much better sense of who Hank is, who Rosalind is, even who Laurel is. It's Hank's character development in particular that reveals this series to be more psychological than it originally came off, in a good way.

Daisy #1 will definitely shock some readers and leave the rest with plenty of questions. It's just unclear yet where this plot is going as there was very little progress made here in this first issue.

Damage Control #1 has one half that works as a sort of sitcom trapped in a comic book. While the other just can't manage to stick the landing with its joke setup.

Daredevil #11 is melodramatic in the best ways. At times it comes off as overwrought and a little cheesy, but it feels intentional. The story that's being told here is supposed to be an over-the-top drama and the way all the different stories are intertwining creates a greater than the sum of its parts, situation.

There's no shortage of Daredevil story arcs that feature these two teaming up/feuding and this has some similar trappings of those stories. It also has some elements that are fresh and unique. So this one can really go either way.

Daredevil #26 just doesn't work. It's main plotlines are all dropped to service the King In Black event, but the events related to that aren't especially good or interesting.

Daredevil #35 was billed as a second big showdown between Elektra and Bullseye and while we did get it, it was lackluster and diminished by questionable writing decisions elsewhere in the issue.

Daredevil #4 brings some big changes for nearly everyone involved with Daredevil and while there's some weirdness, this issue sets up the upcoming story arcs in an action-packed way.

Daredevil #7 should go down as a defining issue for the character. But without the context of a theoretical future for the character, the issue is diminished because of silly undead ninjas.

Daredevil #10 is one of the better examples of heroes fighting heroes that have come out in a good while. The way that the character is put through the wringer, by the creators, is becoming monotonous though.

Daredevil #14 is a near perfect conclusion to an extraordinary run. Many (but not all) characters get nice moments that suggest an unexpected bright future for Hell's Kitchen.

Daredevil: The Woman Without Fear #1 is an excellent first issue that sets the tone for the series and manages to stand on its own regardless of its ties to other series'. A good spot for those curious with what has been going on with Elektra and Daredevil, to jump in.

Daredevil" Woman Without Fear #3 is a decent Elektra comic book, but it's too wrapped up with Devil's Reign and events happening in other titles to really stand up on its own.

Dark Empty Void #1 tries to be the next great sci-fi story that is also engaging on a personal level. It unfortunately doesn't quite hit the mark on either side. That's okay though, because the visuals pick up the slack easily and carry this issue.

Dark Empty Void #2 takes the foundation laid in the first issue and builds up from it in smart ways that allow it to grow bigger while maintaining its identity.

Dark Knights of Steel #1 is like a hot dog of a comic. It's fun and tasty but you're not going to get anything of substance from it. Come to see the changes made to the character designs and their stories but don't expect anything deep here.

Dark Nights: Death Metal #2 has plenty of things going on that look interesting, but so much of it lacks context or doesn't mesh well with each other. This feels like a book that will be better when read with more of the series.

There's no denying that this series has been a pretty wild time with a lot of moments that exist just to be cool. But, this issue takes it one step further and applies this approach to pivotal moments, making a lot of this book feel low-stakes and lacking impact.

Based on Darkhold: Alpha #1, it's really hard to gauge if this event will be good or not and that's because this issue is so full of ups and downs. There's nothing here that really sets it apart, unless you're a big fan of elements of Lovecraftian horror.

While the pace and intensity have been scaled back a bit, Dawnrunner #2 keeps the series moving in a good direction while being enjoyable in its own right.

Deadbox #1 has some good stuff going for it. Its sci-fi subplot is entertaining, its commentary on small town America is insightful, and it's main plot is intriguing in its own right. They just don't come together well.

Decorum #1 is a powerhouse of a comic book. Intriguing plots, a wonderfully established new universe, and dynamite artwork makes it one of the best first issues in a long time.

Believe it or not, there is a way to make comic books confusing and enjoyable because of it. The trick is to offer an easily understandable path for the characters, but then obscure the details and periphery. That's what's going on here in Decorum #2. There's plenty of questions that still need answers, and there's a lot of little things about the universe that don't make a ton of sense, but the story that is pushing the characters' actions is solid enough to ground yourself in.

Deep Cuts #2 isn't going to make any headlines with its storytelling, but thankfully an exceptional showing in the art department keeps this one well above average.

Deer Editor #1 is a noir story that feels like a color by numbers painting. It brings nothing new to the genre and itself is not executed well.

The Defenders #1 is a gorgeous book that is somewhat hamstrung by a simple plot that's muddled by narration overwrought with jargon and vague statements that don't explain what's actually happening.

Destiny, NY #1 knows exactly what it is and does not try to hide it. It wants to be an introductory issue to a series modeled after Strangers In Paradise, with just enough of it's own thing. And, it does that.

You can purchase this issue via comiXology

Dick Tracy #1 is a mostly competent crime story, but it feels like a Dick Tracy story in name only. None of the familiar elements of the character or the universe he's in are utilized here.

There's some nice parts in Doctor Doom #2, but also some not so great parts. If you want to see a more humanizing take on the classic villain with some real human drama, this book has you covered. If you want a well structured, intricate plot, maybe look elsewhere.

Doctor Doom #4 somehow manages to be an issue long philosophical debate hidden behind an issue long fight/action sequence. This issue, like the rest of the series, is a great example of how neither intelligence nor action need to be sacrificed and can coexist in this medium.

Doctor Strange #3 is a well made comic in both writing and art. Unfortunately the squandering of a new villain puts a damper on the whole proceedings.

Doctor Who: The Fifteenth Doctor #1 is a classic example of when comic creators are writing for the trade, which honestly wouldn't be a problem for a property like Doctor Who. But what is here is disappointing and lacking, making it hard to recommend buying this comic on its own.

Dracula: Blood Hunt #1 doesn't waste a lot of time justifying its existence. It gives the reader exactly enough information for things to make sense, then gets them right into the action and vampire slaying, which unsurprisingly makes for a fun reading experience.

To get the complete picture of what's going on here, you probably should be reading other titles from the Blood Hunt event, but Dracula: Blood Hunt #2 sure as heck tries its best to give you at least enough info to enjoy what's going on in these pages, and does so in an artistic way.

Dying Is Easy #2 has some pretty decent art and color work. But it's just not enough to overcome the plot and dialog. In a rare misstep by Joe Hill and Marin Simmonds, this comic is just not very good.

Eternals Forever #1 is continuously bogged down by awkward dialog that tries to force backstory into every interaction, ultimately making the characters and story, unlikeable.

While Excalibur #1 does come off a little as simply "How do the mutants now deal with magic" there's a deeper family drama brewing. One that touches on the themes that have been paramount to the x-books as a whole.

If you're committed to reading the entire Dawn of X lineup then you definitely don't want to miss this. Also, the artwork is great and can carry this issue on it's own. There are some elements that need time to develop, but as of right now Fallen Angel #1 isn't blowing anyone away, storywise.

Far Sector #1 is a meticulously crafted comic book that is full of personality, a strong sense of intrigue and mystery, with gorgeous art and design. Potential readers shouldn't let the Green Lantern aspect scare them off, this stands on its own.

If you're already invested in this series and intend to see it through, this is a good and important issue. But it doesn't stand up on its own and just isn't very entertaining on its own.

Far Sector #3 is a powerfully written issue that succeeds at being a social commentary, sci-fi story, and visually impressive. This issue should make any reader excited for what's coming with this series.

Far Sector #4 has an overabundance of stellar interactions between characters. It's these scenes that more than make up for the questionable tinkering with the green lantern powerset.

Far Sector #5 reads more like an info dump about the main character and the setting rather than a continuation of the ongoing plot in an otherwise good series.

Far Sector #12 is a fine send off for the series as well as the Young Animal imprint in belonged to. The emotional resonance and visuals are enough to offset some of the pacing issues in the early pages.

Fishflies #1 is a great slow burn of a comic that keeps readers guessing while letting a certain amount of emptiness exist.

Fishflies #2 picks up where the stellar first issue left off and just keeps bringing the quality. The slow burn pace might not be for everyone, but you'd be hard pressed to find such well depicted characters elsewhere.

Friday #1 is a good opener to the series by clearly laying out it's premise and goals right on the table, even at the risk of coming off as a bit heavy handed at times. And even if the mystery genre isn't your thing, the book is nice to look at.

Future State: Immortal Wonder Woman #1 manages to have not one but two stories that present a view on an interesting, full-featured future for the characters involved. If you can only grab one title from the Future State lineup, make it this one.

Future State: House of El #1 does so much in such a small amount of pages it's astounding. Of all the possible futures seen in Future State, this one is the first one that deserves a much deeper examination.

Get Fury #1 dangles an intriguing setup with engaging characters over the readers head, but then hits them with childish dialog and lackluster visuals.

Getting It Together #1 is desperately trying to be a trendy and honest story about love and sex, much like so many others before it. Unfortunately it doesn't do enough to set itself apart from those other stories and comes across as bland.

Gilt Frame #1 is a good opening chapter to a mystery that, if this issue is any indication, will becomes a twisted and fascinating web of events and stories. There is a sort of inoffensive tone to the way all the characters interact though, leaving them coming off as shallow.

Gilt Frame #2 really gets the ball rolling in terms of unraveling the central mystery of this series. The way it addresses sharing information with the reader and the use of the visuals is as good as you could hope for.

Gilt Frame #3 brings this series to a satisfying conclusion. It wasn't perfect, but when combined with the previous two issues, it's hard not to consider this a solid chapter in a lovely little murder mystery.

Golden Rage #1 is a dialog heavy book, but fails to utilize all the talking to establish anything beyond what is happening in that exact moment. It is refreshing though to see realistic character bodies and voices.

Gotham City Sirens #1 is pretty much what I expected this title to be, which isn't a bad thing by any means. It's fun, with an unobtrusive dose of silliness, and has a great look. It would've been nice if more attention was given to making the plot events play out smoother though.

There was definitely some humor and some zaniness here, but it felt restrained and held back, which unfortunately left this issue feeling a bit lackluster.

The Green Lantern: Season 2 #1 does not work well as a stand alone comic book. But, it does work well as a season premier. Liam Sharpe's art is a mixed-bag that is at times stunning and at other times, busy and uncomfortable.

The Green Lantern: Season 2 #2 has some nice things going for it and some lovely scenes. It's unfortunately bogged down by the very gimmick that was thrown in to make it more interesting.

The Green Lantern #11 is a book that is trying to do a lot of things all at the same time and for the most part manages to do it effectively. It's also the first time we're seeing just what creators like Grant Morrison and Liam Sharp can do with Green Lantern, a property that has been in a bit of a creative rut for awhile.

There's just not enough here for anyone other than die-hard fans of The Green Lantern. It's not a bad book by any means, but there's no shaking the overbearing mediocreness of it all.

Green Lantern #2 builds itself up with the promise of shaking things up and taking the Green Lantern Corps in a new direction, it then fumbles this by falling back on an old story beat that's been used just too many times.

Green Lantern #1 succeeds in taking one of the cockiest and jerk-ish characters in the DC Universe and putting him in a situation that forces him to be humble and makes it feel natural. Unfortunately this situation is very similar to the one Pete "Maverick Mitchell found himself in.

Green Lantern #8 brings some progress to a series that has been sorely missing a sense of movement, even with the big moments that have happened in the last couple of issues. Its backup story is also a nice addition that doesn't come off as filler.

Green Lantern #10 is more concerned with building up to something else than it is with being something substantial on its own. Yet, it still manages to feature some complex chemistry emerge while letting some characters other than Hal Jordan shine.

Green Lantern #13 treats its ongoing story as an afterthought as it devotes a majority of its time recapping what other characters are up to in relation to Absolute Power.

If you've really wanted a way to get into Grendel, you could do far worse than this. But don't expect to be blown away by what you find here.

Grommets #1 is a heartwarming and visually wonderful look into a tiny slice of '80s nostalgia that will ring true for anyone who's experienced what it's like to find friendship in otherwise hostile environments.

Grommets #2 continues the suburban adventures of Rick and Brian in some fun ways while managing to add new wrinkles to the mix. Some things don't work as well as they should though and the constant reminders about what time period we're in gets obstructive.

Groot #1 seems like it wants to do a lot, but in trying to do it all makes its individual parts weaker. Still a fun read, but felt like it could've been more. Solid art and beautiful colors are almost worth the price of admission on their own.

HAHA #2 is a story that doesn't give its characters enough depth to give any real impact to the proceedings, leaving the end result flat and uninteresting.

Hairball #1 is a pretty good comic with some subtle body horror and some not so subtle domestic drama. It has enough intrigue to warrant reading more, but overstays its welcome on its own.

Harley Quinn 2024 Annual is the perfect comic to pick up if you're looking for a self-contained story that blends mystery and humor in a delightful ratio.

Harley Quinn: Black + White + Red #3 is a barebones comic that has a fun premise and does some fun things with the history of Harley's redesigns, but there isn't much else here to make this a memorable comic.

Heavy #1 does itself no favors by falling back on some cliches and then pointing them out to the reader. Yet, if you look past that there's some nuggets of an interesting setup and universe to be had.

Hellboy in Love #1 commits a cardinal sin of opening a series up. It wastes its first issue on exposition, without giving a really good example of how dangerous the threat actually is.

Hellboy Winter Special: The Yule Cat is very light on story and plot but manages to still be enjoyable thanks to exquisite art and a pretty good fight scene.

Hellions #1 has a lot going for it past the whole "It's the X-Men but violent and mean" thing that's been advertised. There's a strong sense of humor and a good mixture of characters as well.

Do you want to see Wolverine and a bunch of cybernetic soldiers drenched in fire, killing everything in sight? Then Hellverine #1 is your comic. Do you want anything else? Maybe look elsewhere.

Unlike some events Heroes Reborn seems to utilize the tie-ins more for world building rather than storytelling. That being said Young Squadron #1 is a piece of the world you want to see built.

Hexagon Bridge #1 introduces an enticing vision of the distant future both visually and conceptually. Not getting the story moving more though, keeps this from being completely satisfying.

Hexagon Bridge #2 doesn't suffer from any of the typical problems that 2nd issues tend to have. It moves things along nicely, it expands on what has already been established in interesting ways, and it creates excitement for what comes next.

Hexagon Bridge #5 is a nearly perfect issue that caps and equally as enjoyable series. Whether you want to dive into themes of consciousness and transhumanism, or you just want to see some stellar sci-fi art, or both, this is the comic for you.

Ignited #3 wears its politics on its sleeve just like the rest of the series. By page 3 you know exactly where it stands on the divisive subject of mass shootings and gun control. That isn't a bad thing, but conveying this stance in simple and cheap ways does its message a disservice and doesn't make for a fun read.

Immortal Sergeant #1 is full of promise for the series as a whole, but it doesn't do much other than introduce the main character, on its own. It's hard to recommend someone buy this, when it's basically a cold open.

Incoming #1 is little more than a recap of the most recent storylines going on in The Marvel Universe. It's nice to see all the art on display, but there isn't much story here.

Into The Unbeing #1 appears to be establishing itself as another cosmic horror comic, although the setting and the premise are doing enough to set it apart from the others, unfortunately some lackluster characters are keeping it from being better.

Into The Unbeing #2 takes a long time to get off the starting block, but eventually gets to a pace that is engaging and stimulating. It's just a shame that this happens just as the issue comes to a close.

It Eats What Feeds It #2 never manages to escape a paint by numbers plotline in order to elevate itself into something more interesting, even with a unique style and look helping it.

Jenny Sparks #1 is a dialogue heavy issue that effectively introduces some compelling ideas while managing to still give the reader a bit of action as well and ends on an exciting premise for the next issue.

Jules Verne's Lighthouse #1 has a good setting and shows potential in how it's adapting the original novel. Unfortunately it doesn't take enough care to craft an interesting story on its own and spends too much time introducing various elements.

Justice League: Last Ride #1 manages to put emotions before spectacle to aptly begin a story of what it would be like if The Justice League broke up.

Chances are if you've been reading this series, you're already picking up Justice League: Odyssey #25 and will be mostly satisfied with the ending, if you haven't been much of a fan, this issue isn't going to sway you.

Justice Society of America #8 succeeds in showcasing the team's personalities, especially Alan Scott's who's put in a truly human and captivating conundrum.

Kill All Immortals #1 blends a corporate drama like Succession with the brutal violence we've come to expect from Viking-centered fiction and to my surprise, it absolutely works in the best ways.

Kneel Before Zod #1 sets up a strong story that feels both appropriate for General Zod and full of potential to add complexity to him.

Knights Temporal #1 is a strong start for the series. This issue could be carried by the art along, but thankfully the story is fun as well. There's nothing too complicated about what's going on here and that's a good thing. This is the epitome of "Show don't tell".

Knights Temporal #2 is an issue that seems to be more concerned with establishing larger overarching stakes, rather than telling a more concise tale that pushes the characters forward. Thankfully, at this point, those larger stakes are interesting and show a lot of potential in becoming an intricate and exciting story.

Kroma #1 is a strong introduction to a world that has a lot of interesting lore and elements in it. What's fun is that these things are explored not only with the writing but visually as well.

Kroma #4 isn't the worst way to end a series, but its hurried feel and abundance of storybeats makes it feel rushed and unsatisfying.

Last Flight Out #1 has a tight and well defined set of conflicts and stakes. These are not enough to make up for the cliched characterizations and interactions.

Little Monsters #1 is a breath of fresh air in the comic book world. The focus on the quieter moments and not needing any unnecessary action shoehorned in makes this a unique reading experience.

Local Man #1 establishes a great tone and setting early on and rides them until the end of the issue, while introducing enough story elements to encourage further reading into the series.

Lois Lane #3 still feels like a continuation to the love letter to journalism started in the first two issues of the series, but doesn't match the same tone as the story begins to shift to a more personal facet of the titular character.

Loki #1 doesn't try to do too much which makes it feel somewhat lacking in ambition, but it manages to still be a fun read with enough charm to bring a smile.

Lost Falls #1 is a well-made comic that has a couple excusable flaws. If this issue is any indication, this series will be a good one.

Lost Falls #3 represents a point in the story where it really needed just a bit of exposition, but there was none leaving this issue feeling like a series of unrelated events that will also need explaining at some point.

Lost On Planet Earth #1 feels like a good first episode to a decent teen drama about self-discovery and personal fulfillment, plus there's aliens and spaceships.

Mother of Madness #1 fits as much as it can in the 50 pages it's been given. In terms of an origin story and the initial adventures of a hero, it uses those pages well. In terms of a book that's going to poke fun at a whole slew of topics. It could use more nuance.

Plain and simple The Magnificent Ms. Marvel #12 is a comic book that will make you feel good. Some may find the ending a bit too happy and even convenient, but it's nice to see the hero just save the day sometimes.

The Magnificent Ms. Marvel #14 does nothing new or special with the "trapped in a coma" plot, instead relying on clichs and overly dramatic moments which don't land particularly well.

The enjoyable action sequences and decent art, isn't enough to overcome the immaturity of the interactions between all the characters.

Watching Kate Pryde's personal renaissance continue in Marauders #2 is a blast. Combine that with some interesting political maneuvering from Emma Frost and Sebastian Shaw and you have yourself a comic book that is fun and enjoyable on multiple levels.

Marauders #6 is a lackluster issue in an otherwise good series. It ultimately fails to live up to the standard set by the previous issues and wastes what could be a shocking moment by turning it into a cliche mustache-twirling villain monologue.

Marauders #1 is a decent comic book that takes a bit to really get going, but is enjoyable along the way.

With a plot that goes from uncompelling to mean spirited and strange art, there isn't much about Fantastic Four 2099 #1 to like.

Marvel Unleashed #1 is a great pick-up for anyone who enjoys straightforward adventure fun, or animals, or both. Some characters could use a bit more complexity and the art can be a little off-putting, but otherwise it's a good time.

Marvel Unleashed #4 wraps up what was a fun series, it has a bit too much filler and some strange art choices, but it sticks the landing on the emotional moments you expect in this type of story.

Midstate #1 suffers in the way a lot of first issues do, it takes too much time setting things up and not enough time presenting a reason why the reader should care about that set up.

Miguel O'Hara: Spider-Man 2099 #5 has a really clunky narrative device that sticks out like a sore thumb, but if you can get past that, this is a decent story. The Man-Thing is the main focus here, as he should be, and they handle his origin well and manage to introduce a compelling new character into the 2099 world.

The Girl Called Cthulhu #1 is a nice homage to old pulp comics and is full of same campiness. A lack of cohesive plot and some missteps visually make it so there's little to enjoy in this issue beyond the surface level.

Minor Arcana #2 is another solid entry in Jeff Lemire's latest creator-owned tale of small-town psychics and broken families. It can get over the top in some moments, but still manages to set a tone for the series that is unique and fresh.

Minor Threats: The Fastest Way Down #1 kicks off the second series of this title in a mostly strong way. Getting to see Playtime facing the reality created by her actions in the previous series is a good evolution of her character and the world she lives in. There's a strong character driven story happening here. But I can't say that this has what it takes to make anyone want to jump on board who weren't already familiar with this universe especially with it failing to stick the landing like it did.

For those who are desperate to jump into the Spawn-Universe, Misery #1 is certainly one way to do it that won't leave readers confused. But, it's handling of subjects like sexual assault and domestic violence is troubling and cheap, which overshadows any of the good things about this issue.

Moon Knight: Fist of Khonshu #1 is a lean, tight comic book that accomplishes exactly what it sets out to do. Even if the way it does this isn't particularly inspired.

Ms. Marvel has never shied away from complex situations, but rarely something so personal. Art issues aside, this story has been laid out, so far, in a way that feels understandable but also unique to this title.

The Magnificent Ms. Marvel #7 is an issue that continues the title's run of being pound for pound the best young readers comic book out there. It's unfortunately hampered by a lackluster threat that feels more like a distraction from a more interesting plotline than a compelling scenario itself.

While some second issues flounder as they try and capture the same buzz as a first issue, Newburn #2 sticks the landing by opting for a slower burn with intriguing characters with interesting moralities.

Newburn #3 is a solid neo-noir story that pits bad guy vs bad guy in a tense situation with some real stakes for the characters. Some poor writing choices tarnish this a little, but it's still enjoyable.

Night of The Ghoul #1 is a superb opener to this horror series from two veteran creators. Clever writing and beautiful art add significant depth to this 50's B-horror movie inspired tale.

Nomen Omen #1 does an excellent job keeping the reader engaged with the story by utilizing shifting perspectives, an inclusive story, usage of color, and the addition of other media formats.

Nyx #4 is the next X-Men book to broach the age-old question about who's right, Magneto or Professor X. While it manages to present this question in a well-constructed way with decent writing, it fails to do anything fresh with it and is simply rehashing old talking points.

Omni #1 is a good addition to the H1 imprint that introduces a new character that feels original.

Ordinary Gods #1 suffers from trying to do too much with its first issue. But even with a shaky start, the premise is good and shows promise.

For the most part, Marvel's usage of it's younger characters has been very solid for years. Characters like Miles Morales and Kamala Khan have become well-known and popular. Which is why it's sad that the first event to really focus on them, so far is just a rehash of another event.

Parasomnia #1 is an evocative and interesting opening to the miniseries. It doesn't beat the reader over the head with its cleverness, and has a distinctive look. Some odd dialog bits and color usage, bring it down though.

Spider-Men: Double Trouble #1 isn't going to blow anyone away with its amazing story. But, for a fun and quick read, you could do a whole lot worse.

Spider-Men: Double Trouble #2 is filled with some fun action, but doesn't match that quality with its humor, making this issue feel like just another Spider-Man comic.

Poison Ivy #9 banks on one of the DC Universe's premiere couples spending a day together being enough to keep readers engaged, and it's a bet I think they win.

Potions Inc. #1 is a poorly put together book that misuses some promising early elements and then drowns them in a poorly plotted and paced story that just falls flat.

Power Pack #1 continues Ryan North's pattern of taking whatever characters he's working with and using them to poke a little fun at not only the characters but the medium as a whole, just would've been nice to see more connection to the bigger event it ties into.

Power Pack #2 is an excellent issue that manages to be entertaining, funny, and intelligent without being pretentious. Come for the Outlawed tie-in, stay for the power plant explanation.

Power Pack #3 has a few things working for it, like Julie's narration and the family dynamic. Unfortunately these elements don't feel fitting for this series and everything else in the issue is disappointing.

Predator #1 is a fine addition to the library of other comic books featuring the fan-favorite alien, but it doesn't do anything to really capitalize on its titular character.

Rabid World #1 is not a great comic book.

Radio Apocalypse #1 is a relatively calm and thoughtful book hidden under a frenetic and intense packaging. This is one to check out if you're looking for a different feel to your post-apocalyptic story.

Red Tag #1 is a comic that is a joy to look at, and a chore to read. Hokey dialog and missed opportunities riddle this issue.

Retroverse #1 just doesn't do enough things right to make it something worth checking out. The plot has little in terms of uniqueness and the art doesn't do much to help bring the story to life.

Revealer #1 is a solid collection of stories that doesn't rely too heavily on its source material and its b-movie tone and Silver Age inspired art adds to its appeal.

Rogues Gallery #1 is a fine looking book that is full of characters that for many, will feel uncomfortably familiar. A well paced plot also sets up follow up issues well.

Rogues #2 takes the story in a few different directions but manages to stay consistent and does a good job in putting these characters into a familiar story in such a way to make it feel fresh. But it does feel like there aren't a lot of stakes here.

This issue nails the feeling that this team really is a family with all their own struggles but common goals. It is especially nice to see Victor getting the spotlight here and the maturity displayed in all the character interactions is refreshing.

Runaways #32 is a character driven issue that relies on interpersonal conflicts, rather than outright physical ones, to set up a new arc and set of troubles for the main characters.

Runaways #34 is mostly fine as a comic. The interactions between the characters are good and there's a good dose of action. A few missteps in the art and plot bring this down to mediocre though.

Sam and His Talking Gun #1 comes up short on multiple fronts. It doesn't introduce the story in an effective way, it doesn't have particularly interesting characters, and it doesn't even deliver on the promise of its own title. The art though is very nice and deserves recognition.

Save Yourself #1 isn't pushing any boundaries or taking a deep dive into any sort of topic. But, what it lacks in complexity it makes up for in competently telling a straightforward, decent story that's fun to look at.

Sea of Stars #6 follows the formula established by the previous issues, but doesn't do enough to shake things up in an interesting way.

Seven Sons #1 is a challenging first chapter. It sets the scene effectively with use of its strong art, but makes the reader work through a non-linear story to get any real details.

Shang-Chi #1 hypes itself via it's cover and solicitation of being the start of a fight between the titular hero and the rest of the marvel universe, but if this issue is any indication, seeing those fights won't be worth the price of admission.

Silk #2 doesn't do a good job making it clear what's happening in it's plot and not in a fun, mysterious way. On the other hand, the character of Silk gets some well deserved definition and starts to establish their unique voice.

Silver Surfer: Ghost Light #1 banks a little too much on its deep pull from the annals of Silver Surfer history to provide the punch in this issue. There's a noticeable lack of action or even drama here. This makes it feel like you're reading about the relatively stakeless hijinks of a brother and sister with a cameo from one of the most powerful beings in the galaxy.

Unless you're desperate for another dystopian police state science fiction story, there just isn't much here to justify picking up this issue.

Sonata #5 suffers from pacing issues throughout. The conversations go on for too long and the rescue at the end has no tension and is squeezed in as a quick way to wrap things up. The art remains top-notch though.

Spawn Kills Every Spawn #1 tries its best to be a humorous approach to the problem of there being just too many different Spawns out there, but only succeeds at being annoying.

Spider-Man 2099: Exodus #1 is an action-focused book that shows a side of the 2099 universe not often seen. But, one too many one-liners dampens the reading experience a bit.

Spider-Society #1 will please anyone who just wants to see a bunch of Spider-Men gallivanting around and having an adventure. But, pacing problems and a boring visual style keeps this from being anything more than just mildly entertaining.

Star #1 suffers from having just too much untapped potential. There are some parts of this story that are good and show promise ultimately, the creators dropped the ball on an interesting premise.

Starhenge #1 is a fascinating first chapter in what looks to be an intricate piece of science fantasy. Boosted by strong visuals, it's easy to overlook some tonal inconsistencies with the narration.

Strange Academy #1 achieves something that not a lot of first issues can do: It manages to be appealing to both longtime readers and to people new to comics. A diverse cast of characters, a familiar setup, and bright, vivid art mixes here to create a book that has a little something for everyone.

Strange Academy #3 doesn't do anything to shake things up, but it still manages to be a decent little adventure for a group of fun characters.

Strayed #2 is carried by the premise of the series as a whole. This issue is utilitarian in the sense that it only seems to exist as a way to bridge the opening issue to a more interesting story on the horizon. With that being said, the issue is also saddled with an uninteresting antagonist, but is buoyed by a fun, adorable, astral projecting cat.

Strayed #5 is a beautiful book that brings the series to a satisfying conclusion. It even accomplishes something that only the best finales do: It makes up for some of the shortcomings of its previous chapters.

Strikeforce #1 is a particularly uninspired attempt at a particularly overdone and uninteresting type of book. A lack of chemistry between unlikable characters mixed with an uniteresting villain and a poorly defined threat makes for a title that just doesn't have a lot of appeal.

Suicide Squad: Blaze #1 sets up the possibility for a really intriguing series and does a lot to establish a solid premise. Its unlikable characters put a damper on a lot of that promise though.

Superman & Robin Special #1 has a decent little adventure tucked away inside of it. To get to it though you have to hack your way through strange continuity clarifications and clumsy dialog.

Superboy: The Man of Tomorrow #1 doesn't do enough to set itself apart from other Super-Family books, but it is buoyed by strong artistic showing from Jahnoy Lindsay.

Supergirl: Woman of Tomorrow #3 manages to succeed on every level. A beautiful book, it keeps the tone of the previous issues in the series, while showing it can go into some more challenging places.

Second issues in a new series can be fairly hit or miss, but this one is a definite hit. Superman and his villains are well utilized and Marilyn Moonlight's introduction sticks the landing.

Superman #4 spends too much time beating the dead horse that Superman doesn't really trust Lex, and Lex is not being truthful. Not much happens in this issue, which makes the irritating tone that much worse.

Superman's Pal Jimmy Olsen #4 isn't exactly for new readers, but it is a good place for current readers to get a better grasp on the series as a whole. It doesn't have quite as much zaniness as the rest of the series has had, but doesn't have any shortage in jokes and fun.

Swamp Thing: Green Hell #1 is a middle of the road book that does nothing extraordinary good or bad. But that also means that it's hard to justify the higher price tag that this one carries. Maybe wait for a collection or at least another issue.

Tarot #1 is a good comic book, if you're looking for a good "heroes punching things, bad guys plotting" story. The dialog does a lot to diminish the shine of this, but doesn't completely ruin it.

Tarot #2 is a silly issue that still manages to be greater than the sum of its parts and is a pretty enjoyable read.

Tarot #3 has it's fair share of cool things to look at and enjoy, but ultimately doesn't do much of anything with these things.

Tarot #4 definitely prioritizes funness over storytelling but in a series that has taken the reader from Nazi Germany to an altern

Teenage Mutant Ninja Turtles: The Last Ronin #1 is a fast paced opening for a series, that feels like it's been hyped and marketed for a long time, that does not disappoint.

The Bat-Man: First Knight #1 for the most part, does everything right. It's an interesting experiment in comic book writing, has a good plot, and looks good most of the time. Unfortunately, the parts where things go wrong have a strong cumulative effect.

Book of Evil #1 is an unsettling yet well-crafted introduction into a new world that captivates using a combination of a strong POV and sparse illustration.

The Dreaming: Waking Hours #1 makes a good first impression by introducing a handful of likeable characters then immediately throwing them into fun situations. What's also nice is that this doesn't feel so tied to the rest of what's been going on with The Sandman Universe that a reader would feel put off or lost in what's going on.

Captain Marvel: The End #1 is a strong ending for the character. Unfortunately it's propped up on lazy, and emotionally manipulative story beats and cameos.

Miles Morales: The End #1 is a fine story, but the addition of Miles' death at the end and it being advertised as "the final Miles Morales story" makes this feel like a shallow attempt to cash in on sentimentality that just isn't earned in these pages.

Hexiles #1 sets up a really cool concept and then pairs it with a cadre of unlikeable characters which drowns out most of the interest created by that concept.

The Lonesome Hunters #1 is a spectacular opening issue. It does everything a reader could hope an introductory issue does, and looks good while doing it. A poor ending though does keep this from being perfect.

The Madness #1 takes a well-trodden path, but manages to do just enough with it to make it feel fresh and intriguing.

The Marked #1 sets up a world that's based on a tried and true formula. But, manages to add just enough different elements to make this book feel fresh and exciting. Mostly solid artwork drives this issue home and makes it an entertaining book all around.

Ministry of Defense #1 is a big and dense comic that introduces a lot of characters, plot threads, and themes. This makes it feel sluggish and unfocused, but there's signs here that the series could go on to be something pretty cool.

There's a lot to really enjoy about The Moon Is Following Us #1, especially visually. There's just a lack of information about what is actually going on to be a compelling story yet.

The One Hand #1 is a solid detective focused crime comic but doesn't really do anything you haven't seen before.

The Osiris Path #1 is the sort of fun story that will feel familiar to most, but a lack of strong characters drags it down.

The Panic #1 is a good-looking comic that does a great job building tension and setting a tone. But then hamstrings itself with a bunch of perplexing plot developments and character actions.

The creepy stuff looked creepy and it gave me the creeps, mission accomplished. Past that though I can't say that I'm enjoying how the story is unfolding. It's like looking at something through a sheer curtain: There's something there, but it's frustratingly obscured.

The Power Fantasy #3 is another great entry in what is becoming one of the best series out there right now. It does feel like it's trying too hard to be mysterious and clever at times, which is frustrating, but shouldn't deter anyone, especially if you've already invested in this series.

The Quarry #1 takes a promising, slice-of-life story, chops off the first 30 pages without regard for story beats or content and tries to pass itself off as a chapter. The result is a boring comic that doesn't do near enough to garner interest in the larger graphic novel.

The idea of having two titles showing two sides of the same murder but being mostly character driven is a cool idea and Six Fingers #1 shows that this particular side of the story is going in a good direction.

The Thing #1 does enough to sow interest in coming issues but itself is a flawed story with pacing issues wrapped in gorgeous packaging.

A strong piece of storytelling that not only tells a tragic, personal story, but also lays the groundwork for a whole world. Solid art paired with gorgeous colors.

White Trees #2 is a bittersweet tale that lingers after the final panel is read. It really is stunning how well crafted the series as a whole feels with there being only two issues.

Thor: Lightning and Lament #1 goes too far in its attempt to feel retro, making a decent story with good art, hard to get through with its overbearing dialog.

Tim Drake: Robin #1 is a nice departure from the typical two-fisted action that the character typically gets roped into in other titles. Some of the art though is a bit too stylish for its own good.

Tim Drake: Robin #2 lures in readers with a distinct and vivid look, then hits them with a wonderfully constructed detective story.

The Tin Can Society #1 is a brutal yet endearing opener to a series that already has a lot of promise. Save for a few small missteps, this is a tightly written and visually impressive book to have in your collection.

If you're looking for some simple comic book action, you could do far worse than Titans United #1, just don't expect much after that. Strange character interactions dampen any attempt to elevate this issue.

Transformers Vs. The Terminator #2 is a basic story of Autobots Vs. Decepticons. The inclusion of The Terminator feels more like just a little wrinkle in that fight as the Terminator here doesn't feel like the T-800 at all.

Traveling To Mars #1 would've been better off as an FCBD introduction or a #0, but the focus on backstory without much else made this a bore to read.

Ultimate Black Panther #3 is a boring read, plain and simple. It's very pretty, but this issue is just a couple of awkward conversations slapped together, all of which feels inconsequential.

Ultimate Black Panther #6 marks the end of the first story arc of this series and it does so not so much with a big bombastic statement, but rather with a contemplative one that speaks to a much more interesting conflict than originally shown.

Ultimate Spider-Man #7 fails to find a good balance between setting up the characters for the next story arc and finding a pace that better matches the previous arc. It's still a nice book to look at though and that helps carry it part of the way.

There was bound to be an underwhelming issue Ultimate X-Men, but having it be the third issue is surprising. Some late additions to this one give hope that something more interesting is on the way, but Ultimate X-Men #3 isn't going to blow anyone away.

Ultimate X-Men #4 might not go down as a pivotal issue in this series, but so far, it's proven to be the best constructed one. Also, Momoko's art feels made for depicting rainy days, which it does beautifully here.

Ultimate X-Men #6 is an unsatisfactory cap to the first story arc of this series. But it also creates an exciting foundation for this series to build on in the future.

Uncanny X-Men #2 struggles to bring all its pieces together into something great. What's left is a bunch of nice bits, without the connective tissue needed to create something better.

Under York #1 is a comic with a cast of bland characters and the ones who aren't bland are insufferable and borderline offensive. The world building is interesting, but the plot set in that world isn't. In a market where there's no shortage of similar titles, there's little reason to choose this one over any other.

Scott Snyder claims that this is a passion project for him and Charles Soule and so far, it shows. Couple that with art and colors by a trio of truly talented artists and you have the making for a great issue and the beginning of what could be a brilliant series.

There's a lot to like about Undiscovered Country #2. The writing is top-notch and the artwork is intricate and enjoyable to look at. The only thing that someone might not like is the large and ambitious scope being established in this issue.

Undiscovered Country #8 pushes the plot forward in an interesting direction and freshens up the series as a whole. Unfortunately there's also a lot of vagueness and cryptic storytelling that's becoming frustrating to read.

Unikorn #1 isn't going to push any envelopes or shock anyone, but it also isn't trying to. It's a straightforward beginning to a story and feels like a good fit for younger readers.

The plot is paint by numbers, but a fun main character, good art, and just enough cheesiness makes this a fun read regardless.

Venom: Lethal Protector #1 is a comic that's steeped in 90s nostalgia. The dialog and art is over the top in ways that aren't always good, but the plot is entertaining and has a lot of potential.

Bloody comics about murderers and cops are a dime a dozen, but Vinyl #1 manages to do just enough to separate itself from that crowd and lay the groundwork for what looks to be a fun miniseries.

Vinyl #2 manages to up the game from the first issue in meaningful ways that not only make the story more interesting, but establishes a world that has room for exploration.

Vinyl #3 relies heavily on its character development and interaction, but does little to move the story forward.

Vinyl #6 doesn't quite stick the landing. It has a decent run up to the climactic showdown and a good fight sequence there, but the pages that follow are lifeless and meandering.

Wag #1 may go on to be a standout entry in the post-apocalyptic genre, but it will have to overcome a pretty underwhelming introduction.

Werewolf By Night #1 is a decent introduction to Jake, Molly, Granny Rora, and the rest of the cast. Some of the dialog gets a little awkward. But all in all, it's a fun and quick read.

When The Blood Dries #1 is a charming opening to a classic feeling fantasy adventure. It's unclear though whether its charm will be enough to overcome the unoriginal plot.

White Widow #1 is all about bringing the MCU version of White Widow into the comic book world and it's a fun transition to see. Some plotting issues and weird artistic choices pull this one down a bit.

Witchblade #1 is an exciting re-introduction to a classic series that won't alienate old or new readers. A well-crafted plot along with engaging visuals makes this a solid read all around.

Witchblade #2 is a comic of two halves. On one side there's an interesting look at the nature of control. On the other side the main character got turned on thinking about a computer mouse. Yet somehow these two sides manage to come together in a coherent and enjoyable way.

Wonder Woman #768 is another chapter in a good run for Wonder Woman. Unfortunately the inclusion of Deathstroke doesn't do much for this issue other than show how light it is on plot, even though what is there is interesting.

Wonder Woman #1 is a rare issue that shows real ambition with what it's doing. But a bout of non-commitment near the end, puts a damper on the better parts of this one.

Wonder Woman #7 is one of those rare issues where you get to see these larger-than-life characters be a bit more human in a way that doesn't involve unspeakable tragedy. If you can stomach some corny jokes and a decent amount of sentimentality, this will be a fun read for you.

Every year there's a couple of comics that come out and immediately take the status of "must-read", this is one of those for this year.

Wonder Woman: Agent of Peace #1 feels like a Ford Fiesta. It's not terrible, but it's clear it's designed to be economical. The inclusion of Harley Quinn makes for some quick laughs, but not much more.

Wonder Woman: Dead Earth #2 is a must-read for any Wonder Woman fan, as well as fans of sword and sorcery books, as well as fans of emotionally engaging tales.

You can purchase this issue via comiXology

X-Force #3 kicks off the next adventure for the team and does so in a fun and engaging way. The periphery of this conflict though isn't so fun and is a bit hard to get through.

X-Men Unlimited: Latitude #1 is a pure adventure that's well designed, that utilizes its characters perfectly to create a truly enjoyable reading experience.

Yondu #2 is a misstep in almost every way. It does nothing to make the unlikeable title character appealing. The way it treats its female character is troubling, and the art is hit or miss at best.